Red Pen Research Articles

Thin‐layer chromatography/electrospray ionization triple‐quadrupole linear ion trap mass spectrometry system: analysis of rhodamine dyes separated on reversed‐phase C8 plates

The direct analysis of separated rhodamine dyes on reversed-phase C(8) thin-layer chromatography plates using a surface sampling/electrospray emitter probe coupled with a triple-quadrupole linear ion trap mass spectrometer is presented. This report represents continuing work to advance the performance metrics and utility of this basic surface sampling electrospray mass spectrometry system for the analysis of thin-layer chromatography plates. Experimental results examining the role of sampling probe spray end configuration on liquid aspiration rate and gas-phase ion signal generated are discussed. The detection figures-of-merit afforded by full-scan, automated product ion and selected reaction monitoring modes of operation were examined. The effect of different eluting solvents on mass spectrum signal levels with the reversed-phase C(8) plate was investigated. The combined effect of eluting solvent flow-rate and development lane surface scan rate on preservation of chromatographic resolution was also studied. Analysis of chromatographically separated red pen ink extracts from eight different pens using selected reaction monitoring demonstrated the potential of this surface sampling electrospray mass spectrometry system for targeted compound analysis with real samples.

The Writer, the Critic, and the Censor: J.M. Coetzee and the Question of Literature

Seen against the background of the vast scholarly and polemical literature on censorship, J. M. Coetzee's Giving Offense (1996) stands out as an avowedly singular intervention. As Coetzee himself points out in the preface, the twelve essays that make up the volume, most of which originally appeared between 1988 and 1993, constitute neither a "history" nor a "strong theory" of censorship. Rather they represent an attempt, first, "to understand a passion with which I have no intuitive sympathy, the passion that plays itself out in acts of silencing and censoring," and second, "to understand, historically and sociologically, why it is that I have no sympathy with that passion."1 These prefatory remarks prepare the way for a wide-ranging interdisciplinary study that is at once psychoanalytic, literary, historical, sociological, and autobiographical. They also make plain the antirationalist spirit of Coetzee's enquiry, which centers not so much on legislative history or the practice of censorship as on the passions revealed and concealed in writings for or against it. One of the most important essays, "Emerging from Censorship" (1993), seeks, for instance, to understand the curiously "contagious power" of the censor's "paranoia" (37). Why is it, Coetzee asks, that writers—and here he includes himself—so often "record the feeling of being touched and contaminated by the sickness of the state" (35)? [End Page 285] The antirationalist spirit of this question is as evident in the essays on specific censors and dissident writers as it is in some of Coetzee's own general arguments against censorship. "Censorship is not an occupation that attracts intelligent, subtle minds," he notes at one point, adding that it "puts power in the hands of persons with a judgmental, bureaucratic cast of mind that is bad for the cultural and even the spiritual life of the community" (viii, 10). Characteristically, given the focus of his enquiry, he bases his objection not on matters of principle but on judgments about the censors' quality of mind and the pernicious public effects of their authority. A similar logic underlies his analysis of the censors' more immediate impact on writers. What concerns him most in this case is the psychological damage censorship inflicts irrespective of whether or not a writer's works are banned, an effect he feels he can represent only in an arrestingly precarious series of gendered and highly sexualized figures. In ideal conditions, the "inner drama" of writing could, he suggests, be construed as a transaction between the writer and the "figure of the beloved," the internalized reader whom the writer "tries to please" but, as important, "surreptitiously to revise and re-create" as "the-one-who-will-be-pleased." "Imagine what will happen," he then asks, "if into this transaction is introduced in a massive and undeniable way the dark-suited, bald-headed censor, with his pursed lips and his red pen and his irritability and his censoriousness—the censor, in fact, as a parodic version of the figure-of-the-father." The logical consequence of this consciously Freudian chain of figures is inevitable. "Working under censorship is like being intimate with someone who does not love you, with whom you want no intimacy, but who presses himself in upon you. The censor is an intrusive reader, a reader who forces his way into the intimacy of the writing transaction, forces out the figure of the loved or courted reader, reads your words in a disapproving and censorious fashion" (38). Once again Coetzee conducts the argument not in terms of principle—he makes no appeal, say, to the language of rights—but through a "speculative" analysis of the censor's passion and the effects of his "contagious power" (37). He also argues from personal testimony. Though never banned, he did have the misfortune to begin his publishing career in the 1970s, one of the worst decades in the history of South African censorship under apartheid...

A Tribute Rick Harmon August 30, 1952 - May 20, 2004

A Mute Rid Harmon Aipst 1,1952-May 20,2KM Rick Harmon (left),Michael Munk, and Omar "Slug" Palmer (back to camera) at theOregon Historical Society's annual meeting in 1997, where Munk received the Joel Palmer Award. RickHarmon, editor of theOregon Historical Quarterly from 1987 to 1999,died on May 20,2004. We are grateful toSteveHallberg for allowing us toreprint part of theeulogy hewroteforRick and toRick's other colleagues for helping us remember hismany contributions to thejournal and theOregon Historical Society. I met Rick for the first time in 1983when he arrived at theOregon Historical Society to takeon theposition of oral historian. Naturally, his hiring raised a few eyebrows among us northwesterners, who were not quite surewhether we could safely entrustOregon history to a California!!. It took no time at all, however, to figure out thatRick was exactly the right person for the job. His intellect,work ethic, and integrity were evident right from the beginning, and theymade a strong impression on me and his other colleagues. Rick stepped into an oral history program with a strong foundation laid down by his two predecessors, Charles Digregorio and Linda Brody Dodds. His biggest innovation was amove toward longer,more in-depth interviews that explored all stages of a person's life;and over the next fewyears, Rick used this approach to conduct remarkable sessions with people as diverse as federal judge Gus Solomon, civil rights activist Kathryn Hall Bogle, and writer Clyde Rice. Excerpts from several of his oral histories, published in theOregon Historical 502 OHQ vol. 105, no. 3 ? 2004 Oregon Historical Society Quarterly, convey just how good an interviewer he was ? able to draw people out and get them to think and speak about their lives in revealingways. In 1986,Rick was chosen to succeed Priscilla Knuth as editor of theOregon Historical Quarterly, a post she had held for three decades. "PK" would have been a tough act for anyone to follow, and in some respects, the two of them could not have been more different. What they shared was a commitment to thework. Over the year thatRick spent working alongside Priscilla, the two formed a strong bond, and PK passed on stewardship of theQuarterly in 1987, confident that it was in good hands. When I think of Rick as editor, I picture him seated inhis office, shoes off, cross-legged with his feet tucked underneath him, his chair pushed farback fromhis desk, leaning across empty space with his red pen to edit copy at arm's length. I never figured out how he could work in that position, much less get in and out of it. Itmust have suited him, though, because he was remarkably productive. A quick browse through theQuarterly's table of contents for the years of his tenure reveals an astounding range of subjectmatter, from oil drill ing inHarney County to an episode ofMcCarthyism atReed College. In 1993, Rick added "The Journal ofRecord forOregon History" to the titlepage of the Quarterly. He set thebar high and lived up to the standard. In 1991,Rick added a feature that I used to look forward to almost asmuch as the articles themselves: the editor's introduction. It was typically a shortpiece intended to set the stage for the articles, but the thinkingwas original and the writing was pithy. It was thefirst indication some ofus had thatRick was as good awriter as he was an editor. I think the experience of producing the editor's in troductionwhetted his appetite to spendmore time on his own writing. Between 1995 and 1998,while attending to themillion and one details involved inputting out a quarterly journal, Rick published two fine articles of his own inOHQ, one on the history of the Bull Run Watershed and another on Oregon geologist Thomas Condon. Eventually, the desire tomake writing a full-time occupation won out, and in 1999Rick resigned his position as editor. By a fortunate circumstance, a project ideally suited to Rick's talents and interestscame along a short time later when theFriends ofCrater Lake National Park asked him towrite the park's centennial history.He had been waiting for just thiskind of opportunity?the chance todeal with complex environmental policy issues...

Photodegradation and Laser Desorption Mass Spectrometry for the Characterization of Dyes Used in Red Pen Inks

Photodegradation and laser desorption mass spectrometry (LDMS) is a powerful combination of methods capable of characterizing dyes found in pen inks. Rhodamine dyes in pens that contain red ink were analyzed directly from paper (no extraction step is necessary). Inks exposed to incandescent light form photodegradation products (compounds with lower molecular weights than that of the intact dye) and in some instances, photoproducts (compounds with higher molecular weights than that of the intact dye). The degradation products and photoproducts can be detected with LDMS, and the results can be used for dye identification. Advantages include: (1) the instrumental analysis takes less than a minute; (2) sample preparation is minimal; (3) LDMS is a minimally destructive technique; (4) incandescent light sources are inexpensive, safe to use, and readily available; and (5) isomeric dyes can be distinguished.

Editorial

Over the past six years, Bob Grove has provided clear leadership for the editorial group of A life in the day and established the journal as a valuable resource for mental health services. As he passes the editor's red pen to me, I want to begin by recording my thanks to Bob for his consistent encouragement and expertise.

Student-Led Poetry Workshops

whose driving rhythm provides pleasure and places the reader right inside that car as it speeds along. The lines the students later wrote, in which they played with words in their own writing, were quite acceptable. Still, the student's question, which merely smiled at that day, remained with me through the spring and summer. More questions swirled in my teaching brain: Do students even think about the as they write lines of poetry? Are there other elements of poetry that they think of when they compose their own poems? What would students teach about poetry if given the chance? Many students write poems on their own all the time. They say that what they like about writing poetry is that there are no rules or guidelines to follow. In other words, they like to play with words. Their frame of reference for writing poetry is to the poems they write at home, not the poems they write in school, which are seen as assigned. How often do students ask us if they can use poems they have already written for our assignments? how often does our teacher-editor voice rise up and say, Why don't you write a new one for this assignment? Students make a distinction between writing poetry at home and writing it at school. Away from school, students feel safe to write as much poetry as they want to without a teacher's red pen, or editing voice, all over it. At school, they know that eventually their poems will receive a grade, a notion that quite a few students find repugnant. They realize that teachers sometimes take a lower view of their poetic experiments written outside of class than of those pieces that are produced under their informed tutelage. Here, our attitude is like the attitudes of the editors of The Oxford English Dictionary, who view wordplay as a mere playing or trifling with words ... mainly for the purpose of producing a rhetorical or fantastic effect (Cook 173). In order to honor our students' own impulse to play with language, we must turn to poets who extol the value of wordplay. Robert Frost urged, And then to play. The play's the Play's the thing. He added, Poetry transcends itself in the of the toast (Barry 124). Lewis Carroll, one of the great wordplayers of all time, wrote riddles, limericks, acrostics, puzzles, doublets, and the well-liked nonsense poem, Jabberwocky. Elizabeth Bishop, in Brazil, January 1, 1502, has taken wordplay to a level of etymological punning (Cook 186). Coleman Barks, who gave Bill Moyers the idea for the latter's title, Fooling with Words, says about form in poetry, I love a deep playfulness (Moyers

Editor’s editor: Victor C. Vaughan III, M.D.

His name appeared only once in the Journal of Adolescent Health (JAH) [1Litt I.F. Editor-Heal thyself?.J Adolesc Health. 1998; 22: 183Abstract Full Text PDF PubMed Scopus (1) Google Scholar] yet Victor C. Vaughan’s influence has permeated this publication throughout my tenure as its Editor. Known to many of you as the Co-Editor of the Nelson Textbook of Pediatrics [2Vaughan V.C. Nelson Textbook of Pediatrics. (8–12 Editions). W.C. Saunders, Philadelphia, PAl964–93Google Scholar], he served as my “in-house”, unremunerated, editorial consultant 24 hours each day for the past 10 years. Whenever I encountered the awkward phrase as I edited manuscript or page-proof, he was there to help me make it sound right, his red pen always at the ready in his blue shirt pocket. When I wrote the Style Book for JAH, I relied upon his publications for guidance [3Vaughan V.C. Eponym’s ‘s. Letter to the Editor.JAMA. 1986; 255: 1879Crossref Scopus (5) Google Scholar].Having co-authored a book with him [4Vaughan V.C. Litt I.F. Child and Adolescent Development. W.C. Saunders, Philadelphia, PA1987Google Scholar], I was pleasantly indoctrinated into the world of Editor. His years of studying Latin and Greek at Harvard, as well as his demanding educational experience at St. Christopher’s School for Boys in Richmond, Virginia, provided the foundation upon which he built over the years. As Senior Editor for the National Board of Medical Examiners, chair of various test committees for the American Board of Pediatrics and Editor for PREP over the years, he brought clarity and consistency into numerous examinations and publications.Although not himself an Ephebiatrician, he influenced many who chose that career path (e.g. Richard Kriepe, M.D. and Robert Brown, M.D.). As Chairman of the Departments of Pediatrics at The Medical College of Georgia and Temple University School of Medicine (St. Christopher’s Hospital of Children), he enjoyed “turning on” generations of young physicians to the joyful study and enhancement of child and adolescent development. VCV was a scientist, humanist, caring physician, educator and editor, but above all, he was a true leader: he led not by fiat or force, but by example.On November 30, 2000, VCV rested his red pen. The field of Pediatrics has lost a giant, JAH has lost its editorial compass. His name appeared only once in the Journal of Adolescent Health (JAH) [1Litt I.F. Editor-Heal thyself?.J Adolesc Health. 1998; 22: 183Abstract Full Text PDF PubMed Scopus (1) Google Scholar] yet Victor C. Vaughan’s influence has permeated this publication throughout my tenure as its Editor. Known to many of you as the Co-Editor of the Nelson Textbook of Pediatrics [2Vaughan V.C. Nelson Textbook of Pediatrics. (8–12 Editions). W.C. Saunders, Philadelphia, PAl964–93Google Scholar], he served as my “in-house”, unremunerated, editorial consultant 24 hours each day for the past 10 years. Whenever I encountered the awkward phrase as I edited manuscript or page-proof, he was there to help me make it sound right, his red pen always at the ready in his blue shirt pocket. When I wrote the Style Book for JAH, I relied upon his publications for guidance [3Vaughan V.C. Eponym’s ‘s. Letter to the Editor.JAMA. 1986; 255: 1879Crossref Scopus (5) Google Scholar]. Having co-authored a book with him [4Vaughan V.C. Litt I.F. Child and Adolescent Development. W.C. Saunders, Philadelphia, PA1987Google Scholar], I was pleasantly indoctrinated into the world of Editor. His years of studying Latin and Greek at Harvard, as well as his demanding educational experience at St. Christopher’s School for Boys in Richmond, Virginia, provided the foundation upon which he built over the years. As Senior Editor for the National Board of Medical Examiners, chair of various test committees for the American Board of Pediatrics and Editor for PREP over the years, he brought clarity and consistency into numerous examinations and publications. Although not himself an Ephebiatrician, he influenced many who chose that career path (e.g. Richard Kriepe, M.D. and Robert Brown, M.D.). As Chairman of the Departments of Pediatrics at The Medical College of Georgia and Temple University School of Medicine (St. Christopher’s Hospital of Children), he enjoyed “turning on” generations of young physicians to the joyful study and enhancement of child and adolescent development. VCV was a scientist, humanist, caring physician, educator and editor, but above all, he was a true leader: he led not by fiat or force, but by example. On November 30, 2000, VCV rested his red pen. The field of Pediatrics has lost a giant, JAH has lost its editorial compass.

Applying Process Writing as a Cooperative Learning Strategy to the ESL/EFL Writing Class

In a typical EFL writing class in Taiwan, it is a routine for students to wait for the teacher to assign a topic to write about and then to work individually. The teacher spends a lot of time instructing them in grammar and mechanics and then correcting the errors in their product with a red pen. Because the teacher makes decisions for the students all the time, students' own interests or specialties may be neglected severely. Within a process writing class, students are grouped to share the responsibility of learning, then learn to appreciate each other's differences and contribute their own strengths in order to meet group goals. This provides students opportunities for cross-modeling of writing skills and for immediate peer feedback in class. As students gain more experience in working collaboratively, they can grow into more proficient and caring writers. And the teacher will enjoy a class where students are becoming more aware, more insightful, and more articulate, both orally and in writing if s/he is skillful in adapting this cooperative learning strategy.

How do I Visualize a Thin Gold Film on a Smooth Surface

Abstract A question on the Microscopy Listserver concerned using an FESEM to examine a thin, thermally-evaporated gold film on single crystal germanium. It is always a difficult problem to find small surface details or textures on a smooth surface in the SEM. A surface without visible topography looks the same whether it is in or out of focus, and so the method to make sure the surface is in focus is a slow, iterative one. My researchers like to give me a one inch square of highly polished steel or titanium and ask me to find and analyze the five tiny inclusions somewhere in the middle. If there is a particular feature or area that I need to examine, I find that area by eye or under a low power, binocular light microscope and mark it with a fine, red felt-tip pen.

Reflections on Field Experience

Mr. Manafo provides 10 guidelines for preservice teachers who yearn for success in their field placements. Hello Future Teachers, While you are on your well-deserved break from classes and field placements, I thought I would take the opportunity to pull together some of my thoughts on field experience and pass them on to you. First, congratulations for getting off to a good start in your school. Almost without exception, your cooperating teachers are pleased with your performance over the past two weeks. In fact, most of them are positively glowing in their accounts of how well you are doing. Of course, that puts a certain pressure on you to continue at the same high level, but I am confident you can do this. Here are my thoughts: 1. As the weeks go by, resist the temptation to fall into comfortable modes in the classroom. Obviously, there are some things you enjoy doing more than others. However, field experience is as much a time to experiment as it is to practice and repeat typical behaviors. Yes, we all must correct papers - and, in fact, one can become a whiz with a red pen. But how about taking that student aside who just doesn't seem to get it and offering some creative insight? Your red pen will last that much longer. 2. Part of the process of experimentation is finding your as a teacher. Voice, in this context, is more than simply how you choose to modulate the sounds that come out of your mouth. It also has to do with how you choose to address the students, the rapport you establish with them, your body language, how you give positive reinforcement, and the ways you interact with other teachers and with parents. If you haven't a clue as to what your teacher voice is yet, don't despair. It can be developed with practice. Remember that smiles can work wonders and that, when you talk with youngsters or adults, you should look them squarely in the eyes. 3. I believe that observation is an art. We tend to think of observing as a passive activity in which one simply watches what is going on at a given time and place. But as many of you (especially those working with young children) have found out, just sitting around watching what goes on in the classroom can be next to impossible - especially if your cooperating is a progressive educator who believes in the value of hands-on experiences. You need to remind yourself to observe while in action. Are you aware of what other activities are going on in the class in addition to the one you are engaged in? Have you learned all the students' names yet? Are you keeping one eye on your cooperating to see how he or she is handling activities? You can learn to observe on the fly. Practice! It sure beats operating in a state of inattention. 4. I think having an outgoing, winning personality is a positive thing for a teacher. However, teachers come in as many personality types as do professionals in any other line of work. Just because you see yourself as tending toward the introspective, the quiet, or even the shy doesn't mean you can't become a first-rate teacher. Yes, you may have to work a little harder to develop your voice, but remember that young people need to associate with and learn from many different types of adults. Not everyone (in fact, hardly anyone) can be Mr. …

Evidence-based orthodontics

Does your Journal publish only evidence-based articles? Is your orthodontic practice supported by treatment that is evidence-based? For that matter, do you even know? I am captivated by interest in the scientific community on the subject of evidence-based treatment, and I applaud this trend as it reaches into all corners of dentistry. The extension of evidence-based treatment into dental schools as well as clinical practice is the most exciting aspect of this change. With regard to the publication of evidence-based material in this Journal, I have two points to make. First, the peer-review process is your first line of defense in the search for scientific findings that you can believe in and put into practice. Two or more experts in the field scrutinize every article published in the AJODO. Nearly 40% of the articles submitted fail to survive this test and are rejected. The remaining articles are revised until they meet the high standards of the review process. This is not an easy task. You and your patients are the benefactors of this ongoing scrutiny. But, no matter how diligent the referees are in their critique of research findings, you must also be equipped to determine what it takes to produce an evidence-based article. Using this approach to determine the best treatment plan for a specific patient may be time-consuming, but it provides a useful means of making clinical decisions. The most beneficial studies are reproducible, include control groups, have an adequate sample size, randomize subjects to different treatment modalities, and control for the effects of different variables. The strongest evidence is gleaned from randomized clinical trials. Properly performed meta-analysis studies provide the second-best evidence. The third level of evidence is retrospective or prospective longitudinal studies that monitor a group over time. Fourth, is the review article. Fifth is a cross-sectional study that analyzes data from a single point in time. Case studies are typically anecdotal and are ranked sixth. When reviewing a study, you should take time to determine the purpose, the results, and the validity of those results. Unfortunately, authors will occasionally misinterpret the data, and this must be taken into account. Finally, you should determine whether the subject of the study is relevant to your patient’s needs. With accessibility to refereed journals and with an understanding of what makes a good evidence-based article, you will be in a position to practice evidence-based orthodontics. In line with the subject of this editorial, can anything be learned from the first article in this issue, “Autotransplantation of premolars to replace maxillary incisors: A comparison with natural incisors,” by Professor Arild Stenvik and his group at the University of Oslo? The article is a good example of a retrospective longitudinal study. The sample is adequate in size and includes patients treated with a similar procedure over a 6-year period. Only those still under treatment were excluded. The authors conclude that the overall status of the transplanted premolars and of the surrounding hard and soft periodontal tissues indicates that this treatment procedure may be recommended for patients with 1 or more missing maxillary incisors. Is this article on autotransplantation as strong as it could be if it were a randomized clinical trial? Of course not, but this treatment procedure is so complex that it may be years before another study of this size can be completed. It would be a disservice to our current patients to overlook the results of this study while waiting for a randomized study. I invite you to read this article with the skill and the thoughtfulness of a reviewer with red pen in hand. You will recognize it as an excellent addition to your arsenal of evidence-based treatment procedures.

Analysis of Ballpoint Pen Inks by Field Desorption Mass Spectrometry

Abstract Destructive identification of ballpoint pen ink was performed using field desorption mass spectrometry (FDMS) to determine the basic dyes in ballpoint pen ink. Seven different brands of black, blue, and red ballpoint pen inks (total: 21 samples) were examined in this study. A 1-mm section was cut from an ink line drawn on paper and used as the sample. Extraction was performed with methanol. Analysis of each extract by FDMS showed the molecular ion peak of each dye and the black, blue, and red inks were then classified into 6, 6, and 6 types, respectively, based on the ions detected. The results indicated that it was possible to distinguish between manufacturers of ballpoint pens. This analysis of ballpoint pen inks was found to be effective and the method was applied to the analysis of an actual forensic sample.

Editorial.

Writing for publication can be a tricky business. Finding the time, finding the words, submitting your work to be disfigured by the sharp red pens of reviewers and editors, and doing a day job at the same time, can conspire to deter even the most motivated and diligent potential author. However, and at risk of boring you on a topic that has probably been done to death, writing for publication is an important issue. Especially for researchers. So important in fact, that at the Workgroup of European Nurse Researchers (WENR) conference in Helsinki earlier in July scientific writing featured heavily in workshops and symposia.

“Never use a red pen” and other maxims for reflective teaching

“Never use a red pen” and other maxims for reflective teaching

“Never use a red pen” and other maxims for reflective teaching

“Never use a red pen” and other maxims for reflective teaching

“Never use a red pen” and other maxims for reflective teaching

“Never use a red pen” and other maxims for reflective teaching

“‘Cause You Talkin’ about a Whole Person”: A New Path for Schooling and Literacy in Troubled Times and Spaces

Hey, the school yard is a good place to hang with all kind. I belong to a gang and I make a little cash on the side, if you know what I'm sayin'. I can't read so good but that ain't my fault. I used to go to school every day. I be sittin' at some desk that too short for my knees to bend and the chair too high for the desk. I tell the teacher and she tell me to be quiet. So I be quiet just sittin' there lookin' at the back of somebody's head. The teacher be sayin' something' about the way the Mayflower people survive and the kind a tent the Indian live in. What am I supposed to do about it? The buildin' I live in don't have heat or hot water so the Indian tent ain't no different except it be cooler in summer. One day the teacher say to write a paper about how life be different from the time a the early settlers, so I do. The next day she give it back to me with a red pen mark all over it. She say she want me to learn to speak English. I thought I was. I thought I be sayin' somethin' about how hard life is for me just like it be for the Mayflower people. I got to deal with the freezin' winter and no food and people hackin' and coughin' in my face at home. I got to deal with attacks from other gangs, you know. The only thing I learned that day is how to look like a fool in front of the class who be laughin' when the teacher read my paper out loud. I never went back after that. So what? School never teach me how to live today and I don't care how they live a hundred year ago … The only thing school teach me is how to feel stupid and I got my father for that.

Vote, vote, vote, for the GMC

The postman pushed two large, identical envelopes through our letterbox - cat flap actually - one for me, one for my husband. Double sets of mail are common in bimedical households. We opened them - voting papers for the General Medical Council. I flipped through mine. “Have you seen this?” I asked, “There are dozens of them standing.” My husband glanced unenthusiastically at his and put it down again. That evening, glass of wine in hand, we both returned to them. “There are 158 people in here,” I said, “There's going to be some drastic weeding out.” We armed ourselves with pencils and red pens. Closer inspection of the pages showed several blanks - “no photo supplied.” “Well, if they can't be bothered to produce a photograph they can't be very serious,” I said. “I'm not voting for any of them.” A red line through all the “no photo” brigade caused an immediate and satisfying reduction in the number of candidates. Across the table prejudice was rearing its ugly head in the form of agism. “This chap's past …

Product and Process, Literacy and Orality: An Essay on Composition and Culture

The four key words in my title have been among the most frequently and widely used by the current generation of composition teachers, researchers, and scholars. In this essay, I will argue that, as opposing pairs of terms-product versus literacy versus orality-they bear a special relationship to one another, one that resembles a ratio: Product is to literacy as is to orality. Product and are code words for a set of generalizations in the history of composition, while literacy and orality represent similar structures in the history of culture. The ratio enables a dialectical and critical, or metahistorical, perspective on the relation of writing instruction to its cultural contexts. Considered in the light of ideological analysis, and literacy tend to line up on the side of centralized authority and managerial control, while and orality demand an atmosphere of free and open-ended exchange among social equals. In short, the two pairs of contraries evoke the central dilemmas of a liberal democracy, reproducing in the classroom the conflicts of political forum. In the field of composition, process, not product emerged in the 1970s as a rallying slogan for a new generation of writing instructors (Young; Hairston). In this formulation, signified an interactive approach to teaching, according to which the teacher would intervene as a personal presence early and regularly in the development of student papers. This classroom model contrasted strongly with what its advocates perceived as the dominant paradigm of writing instruction, the so-called current-traditional or product-oriented model, in which the teacher played an authoritarian role as the guardian of grammatical and rhetorical propriety and the judge of finished student papers. Whereas the product-oriented instructor felt most comfortable in the lecture hall and the professorial office equipped with red pens and handbooks of error codes, practitioners of the new process pedagogy turned the classroom into a workshop and met their students after class in newly formed writing centers or labs. They introduced a more generous portion of face-to-face, one-to-one communication; dialogue generally preceded writing, and talk often served as

Some Separations of Black and Red Water-Soluble Fiber-Tip Pen Inks by Capillary Zone Electrophoresis and Thin-Layer Chromatography

Abstract Capillary zone electrophoresis was tried for analyzing water-soluble fiber-tip pen inks from documents. The separation process for the compounds—most of them move as anions—is usually less than 10 min. Some examples of possible applications, also combined with thin-layer chromatography, are given.